Monday, August 21, 2017

MacARTHUR: Blu-ray (Universal 1977) Universal Home Video

The real Gen.
Douglas MacArthur once astutely pointed out “old
soldiers never die…they just fade away”; regrettably, as is the case for
director, Joseph Sargent’s MacArthur
(1977); an oft affecting, but only partial biography of this legendary, and some
would still argue as ‘infamous’ historical figure. Embodying the role is
Gregory Peck; Hollywood’s man of integrity, cast in a part he neither sought
nor desired, and, at the outset, actually somewhat detested, along with just
about every other aspect of the production. “I
admit that I was not terribly happy with the script they gave me,” Peck
later recounted, “…or with the production
(confined) mostly on the back lot of Universal. I thought they shortchanged the
production.” Miraculously, Mario Tosi’s diffused low-key cinematography,
married with master SFX artist, Albert Whitlock’s superb matte paintings, and,
some reasonably culled together WWII stock footage, manages to mask Universal’s
paltry $9 million budgetary restriction. MacArthuris a picture that deserves more notoriety, not the least for Greg’s
im(peck)able performance as the caustic, clear-eyed and forthright military man
of vision; his long-reaching plans for peace during the Korean conflict cut
short by Washington’s entrenched bureaucracy. The point in Hal Barwood and Matthew
Robbins’ screenplay is politics does not respect men of action, neither their
divining and unfiltered heroism; viewing MacArthur’s own precepts of ‘honor,
duty and country’ as subservient to their congressional willpower and
self-professed authority. Hardly shot on a shoestring, though decidedly lacking
the production values one might anticipate, MacArthurmade money for the studio in 1977. Yet today, it somehow
lacks the staying power of Franklin J. Schaffner’s 1970 masterpiece, Patton; the movie that effectively
kick-started a renewable trend for military bio/pics.

As a military
strategist, the real Douglas MacArthur’s intuition was both potent and uncanny.
Like Gen. George S. Patton, MacArthur seemed to instinctively recognize where
the enemy’s pressure points and weaknesses lay and knew best how to distress them
to bring about a swift resolve in his favor. Frequently, he went over the heads of his
superiors, including President Harry S. Truman; using his mass appeal and
popularity at home to back his efforts. And like Patton, MacArthur suffered
from ego, stitching together his legacy as he willfully spent the blood, sweat
and tears of many a young private, sergeant and otherwise engaged military
personnel serving under his command, never to find their way back home to that
thought-numbing ticker-tape parade that greeted MacArthur upon his return to
the United States. There are those who consider Douglas MacArthur a legend in
his own time…and others to whom his very name is an anathema to peace.
MacArthur always said “no one values
peace more than the soldier…for only he truly knows the horrors of war up
close.” And yet, MacArthur repeatedly found ways to pursue his combat
strategies, despite often being asked to reconsider his taciturn approach until
cooler heads and the art of diplomacy could have their crack in invested
interests.

Gregory Peck’s
take on MacArthur is oddly unbalanced; first, by the Barwood/Robbins’
screenplay that zeroes in on platitudes and speeches in lieu of and genuine
exchanges in dialogue. MacArthur is
brimming with superlative wit, wisdom and pontifications about the futility of
war. These excerpts are, in fact, expertly handled by Peck, who occasionally
veers into the lyrical strain of a hellfire Sunday sermonizing backwoods
preacher. During these orations one could almost imagine his Douglas MacArthur
feasting on bullets for breakfast; the sound of roaring canon fire split
between his ears and spitting strychnine from his corncob pipe with marksman
like precision to poison and cripple his enemies. If only MacArthur were not an
intellectual military strategist. The second hindrance to the production is regrettably
Peck’s stodgy stoicism; seemingly determined to pay homage to a monument, but
queerly mislaying the man of flesh and blood lurking underneath that entire newsreel-gleaned
public persona the real MacArthur worked so diligently to craft, maintain and
shamelessly promote.

MacArthurbegins at the twilight’s last gleaming of the great
man’s legacy; addressing the impressionable West Point cadets during their
commencement exercises. We catch glimpses of a sad, faraway look in Mac’s eyes.
Indeed, he has been to hell and back, as we quickly regress to 1942, the height
of the conflict. MacArthur is embroiled in a miscalculation of American might
in the Philippines on the eve it is about to be overrun by Japanese forces.
Douglas is not about to give in and beseeches President Roosevelt (Dan
O’Herlihy) for the necessary reinforcements and supplies, earlier promised the
Filipino and American forces to see through the battle of Bataan near
Corregidor Island. Alas, the U.S. stronghold is all but lost. Simultaneously in
Washington, General George Marshall (Ward Costello) and Admiral Ernest J. King (Russell
D. Johnson) deliver this grim news to Roosevelt. The President’s hands are tied; too heavily
invested in the fight in Europe to spare either supplies or troops to relieve
MacArthur. Concluding that the imminent
capture of MacArthur would wound America’s reputation and morale in the war effort,
Roosevelt orders his ‘four star’ general to take a commission in Australia – also,
in danger of invasion by the Japanese. Begrudgingly,
MacArthur departs the Philippines, along with his wife (Marj Dusay) and young
son(Shane Sinutko); leaving Gen. Wainwright (Sandy Kenyon) and a devoted
Filipino fighter, Castro (Jesse Dizon) to face the cruelty and capture on their
own; vowing “I shall return” and
damned determined to do so, despite Roosevelt’s orders.

MacArthur’s PT
boat is in constant danger as it sails for Australia under the cover of night, encountering
floating mines. Miraculously, no Japanese destroyers prevent its safe passage.
But in Melbourne MacArthur learns the bitter truth: there never was a plan to
supply him with badly needed relief for the Philippine invasion. Recognizing he
has likely left some of his best men to die in the jungle, MacArthur grits his
teeth, girds his loins, and addresses the thronging masses in Melbourne. Plotting
almost immediately to fortify Australia’s flank by invading the Philippines once
more, MacArthur is told Corregidor and Bataan have fallen, leaving 70,000 to
imprisonment, starvation and torture. Refusing to believe all is lost,
MacArthur launches into a daring campaign across the jungles of New Guinea. His
gains are hard won under the most hellish conditions. To minimize casualties, he evolves an ‘island
hopping’ strategy, circumventing the Japanese strongholds and cutting off their
supply lines. Two years of tremendous bloodshed in the Southwest Pacific culminates
in MacArthur’s ‘invitation’ to meet with Roosevelt and Admirals Leahy (John
McKee) and Nimitz (Addison Powell) aboard a U.S. destroyer; a PR junket
MacArthur utterly abhors, illustrating his displeasure by arriving late to the
gathering.

The
relationship between Roosevelt and MacArthur is strained. However, Roosevelt
can certainly recognize MacArthur’s passion, as well as his strengths, even as
Mac’ calls out the President to remember promises made to these loyal Filipinos
who have invested everything to side with America in the face of their own
annihilation. In the end, and despite Roosevelt almost having made up his mind
to follow a course to invade Taiwan first, the President instead makes the
executive decision to listen to MacArthur and prepare for the liberation of the
Philippines. US forces stage a daring assault in the Leyte Gulf in October,
1944. In spite of their tenuous toehold on the coastline, MacArthur insists on
going ashore with his men, wading knee-deep in water to address the Filipinos
by radio, exhorting them to drive out their Japanese oppressors. Accompanied by
Filipino President Sergio Osmena, who awkwardly informs MacArthur he cannot
swim, MacArthur’s gentle and self-deprecating reply, “That's not so bad, Mr. President. Everyone's about to see that I can't
walk on water” gives Osmena, as well as the troops, hope to advance onto
victory. As the tide begins to shift in MacArthur’s favor he is awarded his
fifth star; taken to a nearby liberated POW camp where emaciated Americans and
local freedom fighters, captured by the Japanese, have been tortured and
brutalized. There, MacArthur is reunited with a tearful Castro; half-stripped
and on crutches, apologizing he is not fit to receive the general. In reply,
MacArthur embraces his old friend, suggesting he could have anticipated no
finer a reunion. Aboard his ship, MacArthur receives another unlikely friend;
Wainwright, fragile and driven to the brink of a nervous breakdown. The men
acquit themselves of a tearful reunion. But soon thereafter news reaches
MacArthur that Roosevelt has died.

His successor,
Harry S. Truman (Ed Flanders) is a reluctant Commander in Chief, authorizing
the use of two atomic bombs to bring Emperor Hirohito (John Fujioka) to his knees.
MacArthur is opposed to this ‘impersonal’ warfare. Indeed, the bombs dropped on
Hiroshima and Nagasaki usher a new age in which enterprising war strategists
like MacArthur will increasingly discover themselves to be obsolete. MacArthur
presides over the articles of surrender aboard the USS Missouri in Tokyo Bay. Now
appointed as an Allied military governor in Japan, MacArthur institutes
sweeping social reforms and oversees the reconstruction of a modernized nation.
Hence, when Russia’s military diplomatist , General Derevyanko (Alex Rodine)
coolly threatens to use his forces to occupy Hokkaido Island, MacArthur coyly
promises, should any such action even be uttered in hushed debate, the entire
Soviet delegation responsible for its consideration will be emphatically thrown
into prison. As all know Mac’ as a man of his word, he is taken quite seriously
and the occupation of Hokkaido never occurs. While his time spent rebuilding
and reshaping the social mores and political machinery of this new Japan prove
mostly gratifying, MacArthur grows increasingly restless. Thus, in June 1950,
he is given an opportunity by Truman to return to form – and uniform – after
Communist North Korea invades South Korea. Appointed Supreme Commander of the
UN forces, MacArthur bides his time, plotting a risk-laden amphibious landing
at Inchon. For the first time, Mac’ is uneasy about his decision. Nevertheless,
it proves sound. North Korean forces are cut off from their supplies and
reinforcements; forced to retreat northward in utter chaos.

Despite
Truman’s reticence to take the fight to the other side, MacArthur now charges
into North Korea causing Communist China to re-enter the fray as North Korea’s
ally. UN forces incur heavy casualties and Truman, always exacerbated by his
own ineffectualness to ‘manage’ MacArthur from afar decides to lower the boom,
recalling Mac home on grounds of insubordination. And just like that, Douglas
MacArthur is promptly relieved of his command. Perhaps Truman always feared
MacArthur’s popularity. Alas, MacArthur’s bid for the Presidency never quite
came off; MacArthur, nevertheless forewarning Truman’s real threat is Eisenhower;
the candidate Truman least suspects and fluffs off. MacArthur arrives in New
York in 1951, given a hero’s welcome while Truman’s popularity nosedives in the
polls. At last given the opportunity to speak his mind, Mac delivers a gripping
farewell to the joint session of Congress. He is given a standing ovation by
his well-wishers and pundits alike. In the movie’s final moments we return to
West Point and Mac’s address to the graduating class of 62’, stressing that a
life devoted in military service must stress the principles of ‘duty’, ‘honor’
and ‘country’.

MacArthurought to have been a more moving tribute to the man of
the hour. The picture needed the almost ‘respite-like’ moments of introspection
afforded actor, George C. Scott in Patton,
where Scott brilliantly allows his audience to see ‘behind the veil’, the
flashes and the foibles of a genius in his element and at play. Arguably, true
military men have no private soft side. But Scott’s Patton is a renegade with
an Achilles’ heel. Peck’s MacArthur is merely an orator who faithfully believes
in his own verbiage, come what may. MacArthur
might have greatly benefited from the sort of antagonistic buddy/buddy
byplay afforded Scott and co-star, Karl Malden as Gen. Omar Bradley.
Comparisons between Patton and MacArthur – the movies – are
inevitable; each serving as a bookend to the 70’s verve for re-imagining heroism,
occasionally with a war-mongering slant. The battle over how ‘free’ freedom is,
rages on to this day; conscientious objectors still launching into their
protest marches with mis-perceptions about a soldier’s valor. If we are to
consider MacArthur– the movie and
the man – with a benediction of any sort we must first come to an acceptance of
war as that ‘necessary evil’ brought by men from differing socio-political views;
a point of embarkation where the only proportionate response is retaliation from the opposing side.
Wars are rarely fought for the most altruistic purposes. And history – nee ‘fact’
is always writ from the perspective of the victors. Is this just or even
accurate? While some will undoubtedly continue to debate – even lament – this
as much as the freedoms we have enjoyed, afforded us by those taken up the
cause at the point of a gun, there is little to deny a soldier his/her honor
system of checks and balances, beliefs and bravery. We sleep more soundly
because others like a Douglas MacArthur accept responsibility for our welfare. Without
ever having served, and personal opinion of course, I firmly believe in the
military and its might to stand against those who would seek to dismantle our
way of life. MacArthur– the movie –
offers glimpses into that investment of energies and time afforded one man; a portrait
regrettably, without any soft-centered deconstruction of his motivations. It’s
not a terrible tribute. However, it remains a very incomplete one at best.

I have sincerely
given up on Universal Home Video to do right by their catalog on ANY video
format. For one reason or another, the studio’s track record has been among the
worst of any major studio pumping out older movies to any disc format. Does
anyone at the studio know anything about quality control? Is remastering a word
on their radar? Is there no respect for history…movie history, that is? But I
digress. MacArthur's 1080p Blu-ray
is barely adequate. For starters, the main title opticals are severely faded
and suffering from a bizarre color implosion; West Point cadet’s grey uniforms
appearing muddy powder puff blue, the sky looking greyish purple and flesh tones
veering from piggy pink to ruddy orange. It’s a garish start to an otherwise un-extraordinary
presentation. Okay, Uni – let’s get off the pot about advertising ‘perfect HD picture and sound’ on the
back jackets of your discs when virtually nothing apart from packaging appears
to suggest otherwise! You are dangerously close to ‘false advertising’!

Colors crisp
up – marginally – after the main titles. Flesh tonality evens out to a dull,
pasty orange. The entire spectrum settles into mid-grade plunk – listless and
ugly. Everything from the supposedly lush green tropical vegetation to military
khakis appears in an almost monochromatic register. Interiors look even worse.
Detail is wan at best, except during close-ups. There is also some very minor,
intermittent gate weave. I am equally
amazed Uni has spent the extra coin to offer a DTS 5.1 audio of a movie originally
released in 2.0 mono. It’s rechanneled ‘stereo’ of course, exposing the
shortcomings in overlapping dubs and only occasionally offering some exotic
spread across all five channels – mostly, during the action sequences. Dialogue
is very frontal sounding and tinny. My last bit of displeasure: Universal goes
the quick n’ dirty route: NO chapter stops, except by advancing at 10 minute
intervals. No main menu screen either. Remember when Blu-ray was supposed to
offer all the bells and whistles no other home video format could? At the risk
of ruffling more than a few feathers – MacArthur
on Blu-ray is about as passionless an example of what hi-def is capable of,
even at a glance. Abysmal releases such as this are the norm for Universal.
There is no good reason to believe their outlook for future deep catalog
releases will be any better. Ugh! Frustrating! Regrets!

About Me

Nick Zegarac is a freelance writer/editor and graphics artist. He holds a Masters in Communications and an Honors B.A in Creative Lit from the University of Windsor.
He is currently a freelance writer and has been a contributing editor for Black Moss Press and is a featured contributor to online's The Subtle Tea. He's also has had two screenplays under consideration in Hollywood.
Last year he finished his first novel and is currently searching for an agent to represent him.
Contact Nick via email at movieman@sympatico.ca